du Maurier, Daphne: The Scapegoat
(researched by Rachel Shaw)

Assignment 1: Bibliographical Description
1 First edition publication information (publisher, place, date, etc.)
Daphne du Maurier. The Scapegoat. Garden City, New York: Doubleday & Company, 1957 Copyright: 1956 and 1957 by Daphne du Maurier Browning Parallel First Editions: In England: The Scapegoat by Daphne du Maurier. Victor Gollancz: London, 1957
2 First edition published in cloth, paper, or both? If both, simultaneous or staggered?
First edition published in trade cloth binding.
3 JPEG image of cover art from first edition, if available
4 Pagination
178 leaves pp. [10] 9 – 348 [1]
5 Edited or Introduced? If so, by whom?
N/A
6 Illustrated? If so, by whom?
N/A
7 JPEG image of sample illustration, if available
8 General physical appearance of book (Is the physical presentation of the text attractive? Is the typography readable? Is the book well printed?)
Page Size: 20.4 mm x 12.7 mm Margins: Top is 1 mm, Right Side is 1.2 mm, Left Side is .5 mm and Bottom is 2.5 mm Text Size: 1 mm The first title page fits the title well with capitalized letters written in medium size font. The second title page that transitions throughout too next to each other pages is cluttered in the middle where the two pages connect the title. The font is easy to read and a pleasant red color. The book is well printed with readable small text and good indentation between paragraphs. The page behind the last page features an accidental unreadable and mirror-style printing of the text on the last page. In majority, the book is well printed and relaxing to read. Excellent chapter numbering of all capital letters for chapter and then a larger read number. A large lower margin and decent thin size side and upper margin.
9 JPEG image of sample chapter page, if available
10 Paper (Assess the original quality of the paper used for the book. Is the paper in the copy or copies you examined holding up physically over time?)
Paper is yellowed, yet originally white, and remains deckle edged.
11 Description of binding(s)
The cloth binding is firm and a bit dusty. The cloth is embossed calico grain. There is a gold brown edge binding with the rest of the side binding black. The book title is horizontal and written in tan centered in a black area, with the author’s name horizontal on the lower left and the publisher written on the lower right.
12 Transcription of title page
Recto: BY | THE SCAPEGOAT | DAPHNE | DU MAURIER | DOUBLEDAY & COMPANY, INC., GARDEN CITY, N.Y. 1957 On the back of the title pages are, as transcribed: All of the characters in this book are fictitious | and any resemblance to actual persons, | living or dead, is purely coincidental. | Library of Congress Catalog Card Number 57-5902 | Copyright 1956, 1957 by Daphne du Maurier Browning | All Rights Reserved | Printed in the United States of America | Designed by Alma Reese Cardi | First Edition
13 JPEG image of title page, if available
14 Manuscript Holdings
Manuscript held at University of Exeter
15 Other (typograpical information from title page, etc.)
Lists all the past works by Daphne du Maurier on a specific page before the book begins as a marketing tool.
Assignment 2: Publication and Performance History
1 Did the original publisher issue the book in more than one edition? If so, briefly describe distinguishing features of each (illustrations, cover art, typography, etc.); if not, enter N/A
Sort of because Doubleday has an edition of The Scapegoat by Daphne du Maurier that is bind with another book called Flight of the Falcon by Daphne du Maurier. This edition is titled Duet: The flight of the falcon [and] The scapegoat and printed in 1968. A difference between this edition and the original is that there is reaching more pages, 542 pages, and two title pages because it includes two titles.
2 JPEG image of cover art from one subsequent edition, if available
3 JPEG image of sample illustration from one subsequent edition, if available
4 How many printings or impressions of the first edition?
5 Editions from other publishers? If so, list their dates and publishers; if not, enter N/A
Virago (2004) Victor Gollancz (2004, 1982 and 1981) Orion (2003) University of Pennsylvania Press (2000 and 1956) Arrow (1992) Carroll @ Graf Publishers (1991 and 1968) Vctoria Park, W.A : Association for the Blind of W.A. (1988) Pan (1983 and 1975) Charmwood (1982) Longman (1978 and 1975) Amereon Ltd. (1977) Queens House (1977)
6 Last date in print?
The Scapegoat comes back in print by the University of Pennsylvania Press in 2000. The latest located printing.
7 Total copies sold? (source and date of information?)
8 Sales figures by year? (source and date of information?)
9 Advertising copy (transcribe significant excerpts, briefly identify where ads were placed)
10 JPEG image of sample advertisement, if available
11 Other promotion
12 Performances in other media? If so, list media, date, title, production information; if not, enter N/A
There is a film version of The Scapegoat directed by Robert Hamer and Gore Vidal created adaptation (1959). A British audio book recording read by Paul Shelley (2012).
13 Translations? If translated, give standard bibliographic information for each translation. If none, enter N/A
Ti Zui yang, Chinese, 2010. Translated by Dafuni Dumuli’ai zhu, Zhao Yongjian and Yu Mei yi and published by Shanghai wen yi chu ban she Kozel otpushchenilla; Zamok Dor, Russian, 2007. Translated by Sir Arthur Thomas Quiller-Couch and published by Amfora. Der Sundenbock, German, 1959. Published by Bertelsmann-Lesering.
14 Serialization? If serialized, give standard bibliographic information for serial publication. If none, enter N/A
15 Sequels/Prequels? Give standard bibliographic information for each. If none, enter N/A
N/A
Assignment 3: Biographical Sketch of the Author
1 Paste your biographical sketch here (maximum 500 words)
Check the Brief Biography under the Rebecca entry to read an overview on Daphne du Maurier's life. Within her novel Scapegoat, Daphne du Maurier appears to insert elements from her own life that fit into the family within the story. The man the Scapegoat narrator pretends to be, Jean de Gue, fits the role of Daphne's father. Both the character and the man are "emotionally very intense" (Horner 4). Much like Marie-Noel, the daughter of Jean de Gue, Daphne "bonded closely with her father" (Horner 4). Daphne further portrays Marie-Noel, a willful child because she wrote in her own letter that she would "dance in the evening when there was no one to see" (Horner 5). Therefore, Marie-Noel is a force through the novel that represents the only person who can provide tranquility to Jean de Gue, and make him empathetic, similar to Daphne's own father-daughter relationship and how Daphne views herself. Like Daphne's mother, Jean de Gue's wife Francoise wants a son like Muriel du Maureir (Horner 4) and begins as a "very basic type of woman" (Horner 4) appeased with a simple, opaque present. An overarching theme from the novel Scapegoat is fraternizing a person within a separate family. The author Daphne was one "imagined that she was really her [Gladys Cooper] daughter" (Horner 4). The narrator enters Daphne's wish to live in a family not her own. Daphne wish for more than her peaceful married life can be inferred from her feeling like a "disembodied spirit" (Horner 5), as she writes in her letter to Ellen Doubleday. Also Daphne's anxiety relates to the narrator experiencing conflicting emotions. The narrator is unsure of the good he can bring and feels selfish while at the same time improving the family in certain ways. Through her letters to Oriel Molet, Daphne "acknowledges the creative power of the imagination whilst seeking to circumscribe its role to everyday life" (Horner 7). Daphne's power as a writer is relative to the Scapegoat narrator's finding his strengths of forward and quick thinking and tenacity to better, as much as possible, the people around a stranger's life. Finally, Daphne incorporates "her French ancestry" (Horner 145) by setting the story in France with a majority of French characters. The French culture is explored through Scapegoat, with the interworking of the house hierarchy and the opening chapter depicting everyday France. The narrator wants to be French and desires to participate in history. It can be inferred that Daphne, herself, also desires that occurrence because it relates to her identity. Consulted Sources: Horner, Avril, and Sue Zlosnik. Daphne Du Maurier: Writing, Identity and the Gothic Imagination. New York: St. Martin's, 1998. Print. Kelly, Richard. Daphne Du Maurier. Boston: Twayne, 1987. Print.
Assignment 4: Reception History
1 Paste contemporary reception history in here (maximum 500 words)
Critics applauded The Scapegoat by Daphne du Maurier. New York Times gave two approving reviews. One Orville Prescott found The Scapegoat's "considerably superior in its exploration of a maze of subtle and melodramatic human relationships." Prescott's review is full of awed diction and explains that the story succeeds with its exciting, mysterious plot and deep characters. Another Anthony Boucher admits there is an unbelievable aspect to the novel. Yet, Boucher still appreciates du Maurier's spectacular technique that brought suspense writing to this unordinary fashioned mystery. Boucher stated that The Scapegoat "liberate mystery-suspense from the publisher's ghetto" because it is "a riddle-story, a thriller as straight fiction." Additionally, National Review criticized the unrealistic actions of the narrator. Still, the reviewer appreciated the emotional complexity of the characters and understanding the narrator's action related to his deepest desire. Sources Boucher "Another Man's Life: Another Man's Life" New York Times 24 Feb. 1957 Online Prescott "Books of the Times: Equal and Opposites He Becomes Involved" New York Time 20 Feb. 1957 Online Beck "Double Life - Review In Brief" National Review 2 Mar. 1957 Online "The Scapegoat by Daphne du Maurier" Kirkus Review 1 Feb. 1956 Online
2 Paste subsequent reception history in here (maximum 500 words)
Critics applauded The Scapegoat by Daphne du Maurier. New York Times gave two approving reviews. One Orville Prescott found The Scapegoat's "considerably superior in its exploration of a maze of subtle and melodramatic human relationships." Prescott's review is full of awed diction and explains that the story succeeds with its exciting, mysterious plot and deep characters. Another Anthony Boucher admits there is an unbelievable aspect to the novel. Yet, Boucher still appreciates du Maurier's spectacular technique that brought suspense writing to this unordinary fashioned mystery. Boucher stated that The Scapegoat "liberate mystery-suspense from the publisher's ghetto" because it is "a riddle-story, a thriller as straight fiction." Additionally, National Review criticized the unrealistic actions of the narrator. Still, the reviewer appreciated the emotional complexity of the characters and understanding the narrator's action related to his deepest desire. Sources Boucher "Another Man's Life: Another Man's Life" New York Times 24 Feb. 1957 Online Prescott "Books of the Times: Equal and Opposites He Becomes Involved" New York Time 20 Feb. 1957 Online Beck "Double Life - Review In Brief" National Review 2 Mar. 1957 Online "The Scapegoat by Daphne du Maurier" Kirkus Review 1 Feb. 1956 Online
Assignment 5: Critical Analysis
1 Paste your critical analysis in here (maximum 2500 words)
Amid Daphne du Maurier's vast stack of acclaimed works lies her 1957 bestseller The Scapegoat. An entertaining and suspenseful tale of a successful facade, The Scapegoat is a type of bestseller that gains a large following because of authorial name recognition, and the wide-spread approval of the desired audience. This book's divulges that fictional popularity divulges from the opinions of the books contemporary audience and recognition that is gained in some manner. The ways range from publicity to the story's entertainment radar. Daphne du Maurier is an author who recognizes what her audience wants and she is successful with The Scapegoat. Within The Scapegoat by Daphne du Maurier, a reserved professor named John succumbs to the temptation to live his doppelganger's life. John pretends to be Jean du Gue, the lazy owner of a glass foundry, as he interacts with de Gue's family, employees, and mistress. What attracted this reader to the story is the unrelenting desire to know more, to dig deeper in the family's life and unending mysteries the story holds. In particular, why Jean's sister Blache refuses to talk to Jean and why Jean wants John to fill his place. Before The Scapegoat , Daphne du Maurier already gained public approval from the success and critical approval of her other works, including Rebecca . du Maurier's popularity began in the 1930's with her books departing from the typical "mass-marketed romance" (Kelly 35) as her romantic work "tapped the deep feelings of her audience and its needs for fantasy at a time when escape from reality, especially for women was intensely sought" (Kelly 36). Daphne du Maurier's ability to fulfill a unique take on the popular romantic genre explains why she had a wide public readership. She entrained her audience with stories the satisfied their desire to have a vicarious position during troubles faced in society. In the The Scapegoat , readers become intimate with the human want to live anthers's life that appears on to be less mundane. It is unlikely the reader will risk John's actions. The drama relates emotions from various characters, like Paul's anger. The beginning's tone is full of homelessness that provides individuality to the depiction of true French rural life intrigue the reader. Next, the book correlates with the time period's predicaments and provides district perspectives. For instance, the "increasing rigidificaiton of gender roles in the aftermath of World War Two" (Horner 157) is examined in the characterizations. The men, Paul, Jacque and Jean, of the de Gue family are the ones expected to run the glass foundry business and set up the hunting event, while the women, Renee and Francoise, live simple, domestic lives. A poignant discussion between Jean and a glass foundry worker explores an outside and inside perspective of what it was like for a non-soldier to work during the war. Additionally, its Daphne du Maurier writing style lends to the book's approval. du Maurier's writing entertains the reader executing techniques like implementing her family history to tell the book's story, questioning of identity, and her writing style. In The Scapegoat du Maurier combines the first two factors as she "negotiates the tension between such stereotypes [French] and her own sense of French identity" (Horner 147). For example, the French stereotype of love affairs is prevalent with Jean's infidelity with Francoise. The narrator is used to do more than debacle the stereotype. In fact the reader finds, as the narrator does, that the love affair with Renee reveals the unsatisfying life of women during the book's period and the love affair with Blache reflects the human need for unquestioning companionship. Meanwhile, du Maurier's has a formula that entertains her romantic thriller audience and makes them want to continue reading her work. du Maurier has "each scene and each act leaves in the mind of the audience an unanswered question sufficiently captivating to bring it back to its seat after each intermission" (Stockwell 220). This formula delights du Maurier audience because it merit to the human curiosity and gives the reader's a reason to continue. The suspenseful progression is evident in The Scapegoat . Various bread crumbs, like initial impressions of the de Gue family and later pictures of the family in the past, lead to the jackpot of the full truth of The Scapegoat 's various mysteries. If their was with no previous hints, the reader would just want to read the end. du Maurier's style entertains the reader similar to other bestsellers of the time period. The author is skilled in dialogue and providing vivid depictions of setting that establish the mood. The 1952 bestseller Giant by Edna Ferber also implements vigorous depictions of Texan life coinciding with dialogue. However, unlike Giant , The Scapegoat succeeds more with balanced transgressions between dialogue and description. An example of du Maurier's skill is the following, "All right,' I said, "I've apologized. I can't do more. if you won't believe the thing was a mistake, there is no more to be said.' The Forest closed in upon us, not a forbidding darkness but golden green, a tangle of oak, hornbeam, chestnut, beech - all the trees whose leaf gives light instead of shadow, whose branches spread with time, whose stems grow paler." (du Maurier 96) The beautiful setting descriptions continues the weary tone from John's statement while also leaving a distinctive picture in the reader's mind. Therefore, quality writing is a high reason for The Scapegoat 's dissent in to becoming a bestseller. The books allows the reader to see into another persons' life. The Scapegoat may not be an example of academic literature, but it does hold merit with its ingenuity and ability to satisfy the romantic and gothic audience. The story wins recognition from quality writing, public knowledge of the author and way it expands on satisfying readers. Sources Horner, Avril, and Sue Zlosnik. Daphne DuMaurier: Writing, Identity and the Gothic Imagination. Basingstoke: Macmillan, 1999. Print. Kelly, Richard. Daphne Du Maurier. Boston: Twayne, 1987. Print. Maurier, Daphne du. The Scapegoat. Garden City, NY: Doubleday, 1957. Print. Stockwell, Latourette. "Best Sellers and the Critics: A Case History." The English Journal 44.1 (1955): 214-21. JSTOR. Web. 25 Apr. 2014. .
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